Notes and Editorial Reviews

Creating instrumental arrangements of highlights from operas has been done ever since there were operas, but the practice of arranging the music for a specific ensemble of winds–two oboes, two clarinets, two horns, and two bassoons–was popular beginning in the 18th century, when these ensembles existed to entertain the courts of Europe. Zefiro is an interesting Italian group specializing in repertoire of the 18th century, “giving particular prominence to wind instruments”, hence the name, which refers to the Greek god of the west wind (Zephyros/Zephyr). The ensemble size and makeup depends on what repertoire is being performed, and in this case the group numbers 13: two oboes, two clarinets, two basset horns, four horns, two bassoons, andRead more doublebass, the same configuration Mozart used in his Serenade KV 361. These new arrangements, of selections from the three Mozart/Da Ponte operas, are by Zefiro’s director/oboist, Alfredo Bernardini.

Without qualification, this music is infectious, full of personality and wit and charm and dramatic interest, and in his selection of music from each opera Bernardini’s aim was not to in some way “recreate the dramatic tension of the opera” nor to give a “modern view of the works”, but rather to “build up a well-balanced instrumental suite for concert performance.” And that’s exactly what we get here: the skillful scoring captures all of the color and nuance of the original versions, and the playing, by musicians from some of Europe’s finest baroque orchestras, is a model of exemplary ensemble.

Zefiro regards its role not only as musical interpreters but also as entertainers, and that means adding some stage “effects” to these opera selections, including an evocation of the party scene in Don Giovanni (during the “Minuetto, contraddanza e Teitsch”); a popping cork at the end of “Fin ch’han dal vino”; the sudden, sung annunciation of the name “Don Giovanni” following the last selection in the same opera; and some humorous marching footsteps in the military chorus “Bella vita militar” selection from Così fan tutte. But what we primarily get here are beautiful, affecting, gorgeously played renditions of music that adapts happily and gratefully to this format–Mozart himself indulged in these kinds of arrangements (unfortunately, none survive)–allowing us to focus anew on music that we know well but whose enjoyment is always predicated on the appeal (or lack thereof) of particular singers.

With Zefiro’s arrangements we can unconditionally enjoy the frenetic excitement of the overture to Le nozze di Figaro, the delicate simplicity of “Là ci darem la mano”, or the exquisite beauty of the tenor aria “Un’aura amorosa”, from Così fan tutte, one of Mozart’s most inspired creations, as heartbreaking an utterance as anything in all of music, and, thanks to Bernardini’s masterful realizations we can revel in both the humorous aspects and the more poignant moments of Mozart’s music. If you know these operas you will enjoy realizing the special, very careful treatment the music receives here in this very Mozartean instrumental context–unencumbered by voices. And to make it all even more enticing, the sound, from the Abbey of San Martino delle Scale in Palermo, Italy, is first rate. For me, this disc was not only a treat on its own–a legitimate program worth playing multiple times–but it did one thing I didn’t expect: it inspired me to go back and listen to the original operas. Strongly recommended.